Showing posts with label Buster Keaton. Show all posts
Showing posts with label Buster Keaton. Show all posts

Monday, February 14, 2011

Thelma Todd


BRIMMING WITH STAR QUALITY: Thelma Todd (1906-1935) possessed comedic timing that was as remarkable as her beauty. (Original Hal Roach photo from the author's personal collection.)

Called her, "Hot Toddy,"
the ice cream blonde with a smile
that could melt your heart.



Zasu Pitts and Thelma Todd were Hal Roach's female answer to Laurel and Hardy. The duo worked together in 17 comedy shorts before Pitts left Roach Studios in 1933. Pitts was replaced by Patsy Kelly; and, with her new partner, Todd went on to make 21 more two-reelers before 1935.


For The Marx Brothers, Todd provided a luscious alternative to Margaret Dumont, Groucho's usual foil. Pictured with the actress in this still from "Horse Feathers" are Zeppo (left) and Harpo (right).


TWO TOWHEADS ARE BETTER THAN ONE: A playful candid of Todd and Harpo Marx. (From the author's personal collection.)


In August of 1934, the actress opened Thelma Todd's Sidewalk Cafe at 17575 Pacific Coast Highway in Pacific Palisades. It became a favorite of celebrities, tourists and much less desirable characters.


Thelma Todd was found dead in the garage above her restaurant on December 16, 1935, a victim of monoxide poisoning. She was 29 years old.


Todd's death certificate.

Thelma Alice Todd was a teacher but her participation as Miss Massachusetts in The 1925 Miss America Pageant brought her to the attention of motion picture talent scouts. With her striking beauty and vivacious personality, Todd exuded a rich sense of comedic timing that made her a natural for the likes of Buster Keaton, Charley Chase, Laurel and Hardy and The Marx Brothers. Ten years later, the rising star with 120 films under her belt was found dead, slumped over in her car inside her garage, from monoxide poisoning. The coroner ruled it an accident but rumors of fowl play still abound. She was 29, a restaurateur, divorced from shady businessman Pasquale "Pat" DiCicco, living with married director Roland West and rumored to be having an affair with mobster Charles "Lucky" Luciano. What really happened to Thelma Todd remains one of Hollywood's greatest unsolved mysteries.



With Buster Keaton in a scene from "Speak Easily."


A sexy studio portrait.


In an odd twist, the building is now occupied by Paulist Productions, a company dedicated to producing film and television projects that teach Christian values and tackle modern moral dilemmas. The structure is also reported to be haunted.


The eternally youthful, stylish and lovely Thelma Todd.



Hot Toddy: The True Story of Hollywood's Most Sensational MurderSpeak EasilyMonkey Business 

Thursday, March 11, 2010

Sunset Boulevard (1950)


THE DEMENTED RECLUSE: Gloria Swanson as Norma Desmond making her final descent into her imaginary close-up and madness. This scene, more than any other, has come to represent the sometimes tragic downside of fame lost.

The breathing waxworks —
when fallen stars dim to shells
of their former selves.



The scene that inspired the haiku, although I'd never consider Keaton nor Swanson as has-beens. In fact, observe how, even with such a minor part, Keaton works the shot and steals viewer attention with nothing more than a brief facial expression.


Norma Desmond's famous happy ending.


The "Sunset Boulevard" movie trailer.


One of Comedienne Carol Burnett's zany spoofs as "Nora" Desmond. (This is live TV. Notice how you can see the set brace during the two-shot at the door.)

Friday, February 12, 2010

Buster Keaton


Buster Keaton as Johnny Gray, taking on the Union Army from the front end of a moving train, in "The General" (1926).

War, twisters, the sea...
There exists no foe too grand
for The Great Stoneface.



FILMED BEFORE THE DAYS OF SPECIAL AND DIGITAL EFFECTS: Yes, he really did this.




Anything for a laugh!

Hit play to view the following:

CAMERAS WERE HAND CRANKED: The performance sequences were achieved through real-time multiple exposures by masking off areas of the lens, backing up the undeveloped film and shooting each position individually, over and over. There was no video playback, no means of checking what was being done. It was all accomplished with an impeccable sense of timing on the part of both subject and cameraman.